17/07/2024
It is through the practice itself that I developed my curatorial experience, first as a video curator since the 1980s. Since 2000, I have produced major exhibitions of contemporary art and technology, both nationally and internationally. I have even curated for television. Currently, as a full member of the National Academy of Fine Arts, I am part of the team that curates the exhibition Otros Soportes (Other Supports) for the Trabucco Foundation. I taught the subject "Expanded Curatorships" in the UNTREF Master's program. The term "curatorship" means "in charge of" from the Italian "a cura di" (a cura di). The curator does not curate. Each project entails basic premises: historiographical commitment: producing theory and thought, a curatorial narrative about the selected corpus. From the outset, I work on its design and activations, educational action, and dissemination; and, fundamentally, creating a community and a bond of belonging between artists and selected works. This type of curatorship has its own particularities. The specific curatorship I practice is determined by the characteristics of its devices and technologies. In the case of single-channel work, it requires a search for rhythms, cadences, and time measurements. Spatially, while the black cube can be included within the white cube, these curatorial projects must break with the perimeter, respect the sound of the work, consider noise pollution, and open up to ceilings, walls, exteriors, or various devices. They must seek relationships, dialogues, and contrasts. They must consider an active viewer and interactivity. They must allow for enjoyment and contemplation. They must engage the viewer so they are not a fleeting visitor. In 2020, following curatorial criteria, we created the Legado.ar Platform, self-managed and independent, with an interdisciplinary and federal team of specialists. We published a digital book on experimental audiovisual and technological arts produced by Argentine women and dissident artists based on our curatorial memoirs, with a Warburgrian influence, not chronological but thematic.
Buenos Aires, Argentina, 1941. Profesora y Licenciada en Historia de las Artes, Facultad de Filosofía y Letras, Universidad de Buenos Aires. Becas: Barcelona 1971-72, Smithsonian Institution Washington 1982. Docente de nivel medio, grado y posgrado en distintas universidades públicas y privadas, enseñando historia del cine, historia del arte y curaduría. Realizó curadurías de video arte y arte y tecnología en Argentina, Latinoamérica, Estados Unidos, Canadá, España, Portugal, Francia y Corea. Distinciones: 2012 Premio Konex de Platino; 2014 Premio a la Trayectoria, Ministerio de Cultura de la Nación; 2021 Premio UBA 200 años personalidad Destacada; Premio a la Trayectoria 2023 del Fondo Nacional de las Artes. Miembro de número de la Academia Nacional de Bellas Artes. Miembro del Comité Asesor de la Fundación Federico J. Klemm. Miembro emérita de la Asociación Argentina de Críticos de Arte. Asesora del Posgrado Tecnologías en el Arte Contemporáneo de la Facultad de Filosofía y Letras UBA. Bibliografía sobre Taquini Curadora, Gumier Maier (2005), Curadores. Entrevistas, Libros del Rojas. Vive y trabaja en Buenos Aires.